All language subtitles for 24 - Audience Feedback - Hans Zimmer Teaches Film Scoring

First

unselfish truth as.

I write for myself because
the cycles of my life or

ticking by and i want to have
a good life and i wanted to

write music that i like
all that i'm interested in.

Thought.

On this goes back flu.

Forty odd yes you know when i
was an abandoned i was touring

and the

eighties

and england and

or just you know
times are tough it was

Margaret such an awesome pond if you
went outside London he went to the working.

Class.

You know you went
up into the north

and you saw people

working hard

and.

Try to make ends meet and

so.

Weird late.

Every night playing
in these pups

you know

you just

you you knew you were
creating an escape from

for people

are so

somehow i over the
years in my mind i have

this fictitious character
she's called Doris.

She lives in Bradford.

She's of a certain age

Scott

two boys.

It doesn't have a husband she works really
hard every week though spice an impossible

by the way i mean
that a real pain.

She works really hard to

try to make ends meet.

I

added the weekend she's
got a choice you know she can

either

but the television or

she can go to the cinema and
she plunk style her heart on money

and it really is hard
on money and life is

tough.

And she wants to have an experience
just for two hours she wants to have an

experience that she wouldn't
happen her normal life

and.

I am part of the responsibility
of giving how that

experience and not to changing
her on her heart of money

so yeah most of it's
written for Doris who.

Doesn't really exist but

completely and utterly

exists.

Hm i like to do attempt up and i like to
preview the will be i like to put the music.

In front of

an audience you know

it's it's gotta be a sizable
audience because if it's just.

It's just fifteen of your best friends
you'll never going to learn anything.

That just coming
for the free drinks

but

if you have six hundred
people in a room

you know pretty quickly if
you overstep the Mark i mean.

Gladiator is a

good example why when we
started out and and and and i had Lisa

out

her voice i mean.

The studio really didn't like the idea
about of the voice just thought you know

what what is a female voice
doing and a gladiator movie and

Ridley and i had a very
specific point of view about

about it

and.

So we bought

literally go and

we had

that many screenings
where we would

test see

because the audience really
liked the of your an audience as.

They just feel
things differently

their their fault

and

experience the this you know.

I'd noticed that of
course most of them in the

exception you know that idea of shared
dreaming that you get in a cinema and.

So we were

preview it and to test to see how
far we could pocket half you know

and the and that came a pint of

by even i went to hang on a
second okay we gotta go to

pull back a bit.

He feel them getting a bit restless
and a bit sort of you know they don't

you know

it's not like

you just sit there
amongst them and

and

and.

You know you've
broken some sort of.

Agreement you had with the

you know to stay.

Within the reality of you know whatever
well to create and you just it it's during a

misstep you to stepping outside the
world are you pushing the emotion too hard

at it took awhile to get that
ending for gladiator right

you know.

It wasn't so much
that they didn't like it

didn't land

and we just knew we could
get more out of it so i think we

tested it three or
four times at least

you're not until.

Until you suddenly

felt

yes we were taking
them on this journey

off.

The Russell Crowe character dying and a
good way and at the same time that there was

something novel and uplifting
at the end without it being sort of.

You know

cloying

you know i am.

You tried never to tell
people what to thank you just

try to make it possible
for them to feel something

and you don't try to
tell them what to feel

and.

You know.

You should just

get shot if yes

the becoming
sentimental you know and

and and and so it's it's just really fine
bouncing act you know to see how far you

can push it just
supposed to pocket.

And and i dunno it's just
you just you just sit down

you've don't like it yourself
anymore you know you

our

steps this

less such disparate and you know

this

is this is a bit of a fixer
upper opportunity here and.

You just carry on doing that tell the
very last moment because it's flexible.

You know that is time

but ever they tell
you that as time.

A

his part of the process that.

People don't.

Quite comprehend unless

until that really in the room

and.

This music

which is

quite provocative and it it was very
different and it's not what anybody

on the outside world other
than guy and me imagined could

possibly work for Sherlock
Holmes Christmas movie and

there were some
questions asked by.

Maybe the studio

and.

I and

and

and here's the thing i don't
play that game where i go

all the executives what
do they know you know

i i want to know about
that question saw

the last thing we
want to do is go and

make a big mess of it

you know and if somebody's go

good question i want to hear it

some you know i
want to be questioned

and

but i realized what
was happening was

because of the

you know the pressure

that.

I'm always conscious
of even though i tried to

suppress it as

you know that the weight off.

A lot of money's

on your shoulders you know a lot of
people's careers a lot of people Spock

this movie's got come
out and it needs to do well

so you can't be trivial
about this and you do feel it

so

you know

so with within this pressure you're trying
to navigate some sort of artistic freedom

and so

when

a bunch of executive says to
you about were not sure about this

at this music in fact

i think you're ruining the movie

and

you realize that

the question is a legitimate but the
question is the wrong question to ask

because what happens
if they are experiencing it

was that preconceived ideas of

this movie is going to be

and

that

and all if ever done is

see this movie

and a little room

the three or four
or five of them

and that's not how an
audience experiences that

it's

you know once your was
months the on the cinema

surrounded by people
who actually paid money

for for

you you know who have

some different investment in at

its it's a whole
different experience

so i said to them

tell you what.

I'll change anything you want

but first of all

let's put it in front
of an audience.

So

we

down a plane to go to Phoenix i dunno why
we have to go to fee next maybe they know

more about Sherlock Holmes and
Phoenix than anywhere else in the world.

I.

I'm sitting opposite.

Maybe an executive

you know and on the

luckily it's not the longest flight in
the world but you know the whole flight

i'm basically being berated
about how i'm ruining the

movie hi i'm ruining the
future of Sherlock Holmes harm

how this music is completely destroying
any possibility of this movie ever.

Up being success.

This is not a comfortable flight

and.

We

stop screaming the movie.

I didn't tell the
audience disliking it

pay into it

and then comes to the scene
that is ruining the movie where it's

you know it's it's a big
chromatic actually thing

everything's exploding and
i'm playing a so hello violin.

There's a woman sitting next
to me i have no idea who she is

and she just sort of.

Taps me on the arm
she has no idea who i am

and she got

that spray it.

All i wanted to say to
have us well tell them.

Because

in

you know with an
audience it it worked

because because.

An audience will look at
things differently they will

feel things differently
i'm not interested in the

focus group where they all

dissected afterwards

but

you know you gotta go and
sit in the audience and feel

what they're feeling and
it's different just like when.

You're sitting there and
you're playing something to

director the first time it
sounds complete he different

and

you know i was

having a conversation
was Tom Newman who said

whenever he plays
something to a diet directed

it sounded just fine
before the director walks in

as soon as the
director walks and

it all goes to mono
somehow why is that

you know.

It's just we are
influenced by the people.

Around us a nice i think i
think it's really important that

you have the courage

to put it in front
of the audience

and

so anyway we got
through the screening.

You know they

take numbers you know

excellent baba

it's god through the roof

and

of course the plane
ride back i got to

reverse the game and say so.

The immediate change i'm happy I'll change
the music whatever but you aren't Juliet

what do you want me to do

and

you know

it was initially

doubt change alert

and.

I'm not saying this because i'm
i'm clever and smart etc or whatever.

But

you know part of the process
of being a film composer as as

you have to understand that everybody's
cheering you on nobody's your enemy

everybody's on your side
everybody wants you to succeed

but sometimes.

People get a bit more age

you know and

i get a bit worried too you
know i get a bit wobbly about

is what

he

was this really such a good idea
to drop the piano off a roof and to.

Is that really the soundly were
after our by whatever you know it's it's

and.

You have to committed with
a certain recklessness but

at the same time you have
to come at it with a certain.

Sense of
responsibility in that's

look this is where
it comes back to the

basic thing which.

Are you i'm sti.

Because if your story

you can do whatever
you want to do.